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CORRECT 
COLOR  SCHEMES 


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Digitized  by  the  Internet  Archive 
in  2017  with  funding  from 
Columbia  University  Libraries 


https://archive.org/details/correctcolorscheOOnati 


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NEW  YORK* CLEVELAND 


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CORRECT 
COLOR  SCHEMES 


II.LV  S  T  RAT  ED 


PAINTING  THE  HOVSE 
IN  HARMONY  WITH  ITS 
ARCH1TECTVRE  AND  ITS 
SETTING  .TOGETHER  WITH 
SIMPLE  HINTS  ON  SHRVIV 
'BERY  ARRANGEMENT  S 


NATIONAL  LEAD  COMPANY 


B  O  STON  •  P  IT  T  S  B  V  RGH 


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Copyright,  iqio,  by  O.  C.  Ham 


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booklet  is  in¬ 
tended  to  answer 
two  questions  of 
great  importance 
to  every  home 
maker.  First, 
how  best  to  preserve  and  beautify 
the  houses  we  live  in;  second,  how 
to  make  the  most  of  building 
plots  limited  in  area. 

We  Americans  are  fast  learning 
that  it  is  just  as  easy  and  just  as 
inexpensive  to  have  homes  that 
arc  tastefully  decorated  and 
grounds  that  are  well  planned  as  it 
is  to  have  them  fantastic  and  un¬ 
attractive.  With  all  our  hurry  we 
are  somehow  finding  time  and 
means  to  care  about  what  is 
artistic. 

We  are  learning  that  good  taste 
is  a  higher  and  a  safer  standard 
than  a  mere  fad  or  style  or  fashion. 
Good  taste  outlasts  any  passing 
fancy  and  is  never  freakish.  It 
rests  on  the  laws  of  harmony, 
which  do  not  change. 

One  other  thing  which  we  have 
found  out  is  that  the  selection  of 
the  right  color  scheme  for  one’s 


house  adds  dollars  and  cents  to  the 
value  of  the  property  as  well  as  gives 
satisfaction  and  pleasure  both  to 
the  owner  and  his  neighbors. 

The  house  owner’s  first  need  is  a 
clear  idea  of  what  goes  towards 
the  making  of  an  artistic  home, 
and  the  first  principle  in  that  idea 
is  the  rule  of  simplicity.  A  scheme 
of  decoration  that  is  simple  and 
appropriate  is  likely  to  be  pleasing 
and,  therefore,  successful. 

Those  two  rules  of  simplicity 
and  fitness  are  of  the  highest  im- 
portance  when  applied  to  the 
painting  of  the  house  and  to  plan¬ 
ning  the  bits  of  landscape  around 
it.  The  house  must  appear  to  fit 
into  the  place  where  it  has  to 
stand.  The  way  it  does  fit  de¬ 
pends  a  great  deal  upon  the  way  it 
is  painted  and  the  way  the  grounds 
about  it  are  laid  out.  There  must 
be  harmony  in  the  color  scheme  it¬ 
self,  harmony  in  the  plan  of  the 
grounds,  harmony  between  the 
house  and  its  neighbors. 

The  value  of  this  booklet  lies  in 
the  fact  that  the  suggestions  in  it 
are  definite  and  practical.  In  or- 


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PLATE  A 

The  above  color  harmony  would  look  well  on  any  house  similar  to  those  represented  below. 


I 


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dcr  to  enlarge  its  scope  and  useful¬ 
ness,  small  pictures  are  grouped 
with  each  colored  engraving,  show¬ 
ing  houses  to  which  the  same  or 
similar  treatment  has  been  suc¬ 
cessfully  applied.  Each  house 
shown  represents  an  actual  exam¬ 
ple  of  harmonious  and  tasteful 
painting.  So  large  a  variety  of  sug¬ 
gestions  is  sure  to  include  some 
that  will  meet  the  needs  of  any 
inquirer. 

The  grounds  and 
buildings  of  a  subur¬ 
ban  or  country  home, 
carefully  planned,  will 
be  an  unfailing  source 
of  pleasure  to  the 
owner  and  to  his  ap¬ 
preciative  neighbors. 

Fortunately,  a  good 
example  is  more  like¬ 
ly  to  be  followed  than  a  bad  one, 
and  the  existence  of  one  beautiful 
place,  however  modest,  will  stimu¬ 
late  the  owners  of  adjoining  prop¬ 
erties,  often  transforming  a  whole 
neighborhood. 

In  the  colored  engravings  show¬ 
ing  ten  model  schemes  for  the 
artistic  painting  of  various  styles  of 
houses,  it  has  been  the  attempt  to 
give  the  general  impression  which 


H 

GROI  N'D  PLAN  FOR  PLATE  A 


the  actual  house  would  make  on 
the  observer,  not  to  show  the  exact 
tint  of  the  paint  in  the  pail.  Shad¬ 
ows  and  high-lights  are  retained  in 
the  picture  to  preserve  the  natural 
effects,  but  as  these  interfere  when 
attempting  to  match  up  the  paint 
to  be  used,  a  practical  guide  for  the 
painter  has  been  placed  on  the  last 
page  of  the  book.  This  consists 
of  painted  blocks  showing  the 
tints  and  shades  re¬ 
ferred  to  in  the  de¬ 
scriptions,  together 
with  the  reference 
numbers  used  in  con¬ 
nection  with  them  in 
describing  the  color 
schemes  in  the  book. 

X  o  a  1 1  e  m  p  t  has 
been  made  to  present 
expensive  and  pre¬ 
tentious  houses  only,  nor  to  offer 
correct  models  for  building  new 
houses.  Rather,  we  have  tried 
to  show  what  can  be  done  with 
various  types  of  actual  and  prev¬ 
alent  houses,  ranging  from  the 
simple  and  modest  to  the  more 
elaborate  and  imposing,  by  taste¬ 
ful  selection  of  color  schemes  to 
suit  the  tvpe  to  which  one’s  house 
belongs. 


7 


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PLATE  B 

The  above  color  harmony  would  look  well  on  any  house  similar  to  those  represented  below 


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THE  COLOR  PLAN  AND  THE  PAINT 


A  HOUSE  which  is  set  closely 
among  trees  or  other  ver¬ 
dure  should  not  be  painted 
green  or  olive,  though  there  may 
be  no  objection  to  green  trimming. 
Colors  contrasting  with  the  sur¬ 
roundings  are 
better  for  the 
body. 

If  a  house  is 
low,  w  i  t  h  a 
tendency  to 
“  squattiness,” 
a  dark  color 
should  not  be 
used.  Paint 
it  light  and 
preserve  the 
benefit  of  what  height  it  possesses. 

Nothing  is  better  than  pure  white 
for  certain  styles  of  country  and 
suburban  houses,  especially  if  set 
snugly  against  a  green  background 
and  amidst  green  surroundings. 
Naturally,  however,  white  is  a  poor 
scheme  for  factory  towns  or  other 
dirty  localities.  A  very  light  gray, 
like  french  or  pearl  gray,  may  be 
more  durable  than  pure  white,  and 
yet  give  nearly  white  effects. 

Houses  with  shingled  upper 
stories  as  a  rule  should  be  painted 
on  the  lower  story  a  lighter  shade 
than  the  shingles.  The  shingles 
may  be  indian  red,  dark  brown, 
dark  green  or  some  olive  shade. 
The  body  should  harmonize,  as 
light  or  dark  olive  with  indian  red, 
cream  with  browns,  the  grays  with 
dark  green  or  dull  red. 

Not  all  colors  and  tints  are 
equally  durable.  Cold  colors,  like 
the  grass  greens,  blues  and  certain 
cold  shades  of  yellow,  hasten  the 


GROUND  PLAN  FOR  PLATE  li 


deterioration  of  the  paint  film. 
This  is  due  to  the  fact  that  they  do 
not  reflect  or  turn  back  the  heat 
rays  of  the  sun,  but  allow  them  to 
penetrate  the  film. 

Tints  based  on  the  reds,  browns 
and  blacks  are, 
as  a  rule,  the 
most  durable. 
T hus  the 
grays,  the 
slates,  the 
browns,  the 
richer  yellows, 
etc.,  are  excel¬ 
lent  for  wear 
and  are  at  the 
same  time  the 
most  pleasing  on  the  house.  We 
therefore  recommend  them  most 
frequently  in  our  designs. 

Perhaps  a  word  should  be  added 
for  the  benefit  of  those  who  mav 
have  always  thought  of  white  lead 
as  good  for  white  paint  only.  The 
fact  is,  white  is  and  must  be  used  as 
the  base  in  making  all  paints  of 
light  tint  and  many  paints  of  dark 
shades,  too.  Black  and  certain  in¬ 
tense  shades  of  blue,  red,  brown  and 
yellow  can  be  produced  without 
using  any  white  base,  but  by  far  the 
greater  number  of  tints,  especiallv 
those  most  admired  for  house 
paint  and  the  most  durable  for  that 
purpose,  are  made  by  mixing  a 
small  portion  of  tinting  color  with  a 
large  portion  of  white  lead.  With 
somecolors  a  few  ounces  are  enough 
to  tint  ioo  pounds  of  white  lead. 

MORE  IMPORTANT  THAN  COLOR 

As  important  as  the  color 
scheme  is,  it  is  not  the  most  im- 


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The  above  color  harmony  would  look  well  on  any  house  similar  to  those  represented  below 


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portant  consideration  in  painting 
vour  house. 

Choose  your  color  scheme  care¬ 
fully,  but  choose  your  paint  still 
more  carefully;  otherwise  your 
beautiful  color  scheme  may  vanish 
in  a  few  months. 

Aside  from  a  few  perishable 
tints  which  cannot  be  secured  in 
any  durable  material,  you  prac¬ 
tically  have  an  unlimited  range  of 
tints  and  shades  to 
choose  from  if  you 
use  pure  white  lead 
and  pure  linseed  oil 
in  all  your  paint. 

Pure  white  lead 
and  pure  linseed  oil 
make  a_  combina¬ 
tion  which  has 
been  known  for 
generations  as  the 
best  paint  for  all 
general  painting.  It  still  stands 
unequaled,  both  for  durability  and 
for  the  wide  range  of  its  possibil¬ 
ities  in  decoration.  From  white 
down  through  the  widest  possible 
gradations  of  every  imaginable  tint 
and  shade,  pure  white  lead  paint, 
made  to  order,  meets  every  whim. 
The  user  of  stock  paints  is  nat¬ 
urally  limited  to  stock  tints. 

WHERE  THE  DANGER  LIES 

All  house  paint,  except  the  very 
dark  colors,  is  made  from  white 
lead  and  linseed  oil  or  from  substi¬ 
tutes  made  to  imitate  one  or  both  of 
these  two  standard  ingredients. 
Three  things,  then,  threaten  the 
durability  of  your  paint:  first,  the 
adulteration  of  the  white  lead;  sec¬ 
ond,  adulteration  of  the  linseed 
oil;  third,  the  use  of  a  very  perish¬ 
able  coloring  material  to  tint  the 
white  lead.  To  be  sure  of  getting 
pure  white  lead,  pure  linseed  oil 
and  proper  tinting  material,  the 


GROUND  PLAN  FOIt  PLATE  C 


first  step,  obviously,  is  to  buy  the 
ingredients  separately  and  have 
them  mixed  specially  for  you. 

Sometimes  imitation  paint  is 
represented  as  pure  white  lead  and 
pure  linseed  oil.  That  is  fraud. 

Sometimes  you  are  told  that 
there  is  something  else  in  the  paint, 
but  that  it  is  put  there  because  it 
has  been  discovered  that  white 
lead  makes  better  paint  if  some 
other  white  sub¬ 
stance  is  added  to 
it.  In  the  face  of 
pure  white  lead’s 
long  years  of  undis¬ 
puted  success,  the 
burden  of  proof  is 
on  the  person  who 
proposes  to  tamper 
with  it.  Don’t  let 
experiments  be 
made  on  your  house 
at  your  expense.  Ask  the  experi¬ 
menter  three  pertinent  questions. 

Ask  him,  first,  how  it  comes  that 
out  of  ten  advocates  of  adding 
something  to  white  lead  to  “  im¬ 
prove”  it  no  two  will  agree  upon 
just  what  should  be  added !  Each 
is  sure  that  the  addition  favored 
by  the  other  makes  the  paint  very 
bad ! 

Ask  him,  second,  how  it  is  that 
every  material  suggested  as  an 
“improver”  is  cheaper  than  white 
lead;  and  why,  though  it  costs  the 
manufacturer  less,  the  combina¬ 
tion  of  white  lead  and  the  cheaper 
material  costs  the  consumer  more 
than  pure  white  lead! 

Ask  him,  finally,  how  it  is  that 
scaling,  splotched  houses  have  fol¬ 
lowed  in  the  trail  wherever  the 
“combination  pigment”  theory 
has  been  applied,  while  on  the 
other  hand  there  was  never  a  case 
known  where  pure  white  lead  and 
pure  linseed  oil  paint  scaled  off! 


■■■■ 


PLATE  D 

The  above  color  harmony  would  look  well  on  any  house  similar  to  those  represented  below 


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Paint,  even  when  made  of  white 
lead  and  oil,  can  be  so  abused  in  its 
applications  as  to  make  trouble  (as 
for  instance,  when  it  is  applied  to  a 
damp  surface),  but  your  painter 
will  vouch  for  the  statement  we 


have  just 
made  that 
pure  white 
lead  and 
pure  lin¬ 
seed  oil 
paint  will 
notscaleoff. 

So  much 
for  the  pig¬ 
ment  mow, 
as  to  the 
“vehicle”  or  liquid.  If  the  linseed 
oil  is  adulterated  the  paint  will 
never  dry  properly  and  the  film 
never  become  tough. 

Adulterations  are  difficult  to  de¬ 
tect.  For  white  lead  there  is  the 
blow-pipe  test,  a  sure  detector  of 
adulterants,  but  there  is  no  simple 
and  absolute  test  for  linseed  oil. 
The  presence  of  fish  oil  and,  gen¬ 
erally,  rosin  oil,  can  be  detected  by 
the  rank  odor,  for  pure  linseed  oil, 
when  rubbed  briskly  between  the 
hands,  has  the 
pleasant  and 
familiar 
aroma  of  flax¬ 
seed.  But  corn 
oil  (which  is 
a  more  fre¬ 
quent  adul¬ 
terant  nowa¬ 
days),  while 
possessing  a 
strong  odor, 

cannot  always  be  detected  unless 
a  large  quantity  has  been  used.  If 
a  few  drops  of  linseed  oil  be  placed 
upon  a  black-painted  surface  and 
a  bluish  tinge  or  cast  appears  about 
the  edge,  such  as  kerosene  exhibits, 


GROUND  PLAN  FOR  PLATE  D 


it  is  evidence  of  adulteration  by 
use  of  petroleum. 

But  even  chemists  are  some¬ 
times  deceived  by  the  more  subtle 
adulterations,  and  the  best  protec¬ 
tion  is  the  name  of  a  reliable  maker. 

Learn  by 
l  i  n  q  u  i  r  y 
whatisgen- 
erally  rec¬ 
ognized  as 
a  reputable 
brand  and 
insist  on 
your  paint¬ 
er’s  using 
it. 

Finally, 

as  to  tinting  colors.  If  the  paint 
is  to  be  white,  no  coloring  materials 
are  needed,  but  if  a  tint  is  desired, 
chrome  green,  french  ochre,  Prus¬ 
sian  blue,  chrome  yellow,  Venetian 
red  or  some  such  “colors  in  oil,”  as 
they  are  called,  must  be  added  in 
small  quantities  to  the  white  lead. 
These  tinting  colors  must  be  of 
high  grade  or  they  will  fade  out 
and  spoil  an  otherwise  good  job. 

HOW  TO  TROTECT  VOURSELF 

W hat  the 


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GROUND  PLAN  FOR  PLATE  ON  DOUBLE  CENTER  PAGES 


p  roperty 
owner  wants 
is  a  painting 
job  which  will 
last  and  look 
well  a  reason¬ 
able  length  of 
time.  Expe¬ 
rience  has 
shown  that 
paint  made 
of  pure  white  lead  and  pure  linseed 
oil  wears,  is  reliable,  gives  the  prop¬ 
erty  owner  his  money’s  worth. 
Specify  those  materials  and  see  that 
your  painter  uses  them.  Learn  the 
name  of  a  good  brand  of  linseed 


It: 


13 


PLATE  F 

The  above  color  harmony  would  look  well  on  any  house  similar  to  those  represented  below. 


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1 6 


oil  and  specify  it.  To  secure  pure 
white  lead  is  easy.  Look  for  the 
Dutch  Boy  Painter  trade-mark  on 
the  side  of  the  steel  keg.  White 
lead  so  marked  is  guaranteed  pure. 

1  laveourwhitelead 
and  theother  ingredi¬ 
ents  brought  to  your 
premises  and  mixed 
there.  This  is  not 
only  surety  that  you 
get  the  materials  you 
specify,  but  it  insures 
the  paint’s  being 
mixed  fresh  and  for 
your  job.  The  latter 
is  a  very  important 
point,  next  tothe  puri¬ 
ty  of  materials  the 
most  vital  to  the  dura¬ 
bility  of  the  work.  A 
good  painter  would 
no  more  think  of  put¬ 
ting:  on  vour  house 


GROUND  PLAN  FOR  PLATE  F 


cuts  at  the  expense  of  good  work. 
First  thin  the  white  lead  paste  by 
mixing  with  oil.  Tinting  colors 
should  next  be  added,  then  more 
of  the  oil.  Finally,  the  turpentine, 
if  that  material  is  to 
be  used,  should  be 
stirred  in,  and  for 
outside  work  not 
more  than  one  part 
turpentine  should  be 
used  to  five  parts  oil. 

Paint  is  more  easily 
mixed  and  will  spread 
farther  if  more  tur¬ 
pentine  is  used  than 
we  recommend  and 
if  it  is  added  before 
the  final  oil.  A  con¬ 
tractor  may  be  able  to 
make  a  slightly  lower 
bid  by  doing  the  job  in 
a  way  which  allows 
him  to  work  faster 


paint  mixed  for  en¬ 
tirely  different  conditions  or  apaint 
made  to  meet  general  conditions 
than  a  good  doctor  would  prescribe 
the  same  medicine  for  all  kinds  of 
diseases. 

The  paint  film  is  apt  to  crumble 
if  the  in¬ 
gredients 
are  not 
mixed  in 
proper 
order.  This 
crumbling 
or  “  chalk¬ 
ing  ”is  then 
blamed  on 
the  white 
lead.  The 
remedy  is 
properly  the  painter’s  business,  but 
the  house  owner,  himself,  is  often 
responsible.  By  insisting  on  a  low 
price  he  indirectly  influences  the 
painter  to  hurry  and  to  adopt  short 


GROUND  PLAN  FOR  PLATE 


and  spread  the  paint 
out  farther,  but  the  house  owner 
should  remember  that  spreading 
the  paint  over  a  large  surface  is 
one  thing,  while  covering  the  sur¬ 
face  properly  and  producing  a 
paint  film  which  will  wear  well  are 

entirely 
^  >  different 
things. 

A  slight 
saving  at 
the  ex¬ 
pense  of 
durability 
will  be 
costly  in 
the  end. 
Use  good 


materials 
mixed  right  and  put  on  in  coats 
of  proper  thickness.  A  job  will 
result  which  will  put  off  the  day  of 
repainting  several  years.  That  is 
true  economy  in  painting. 


„u: 


1 
I 

I: 


PLATE  G 

The  above  color  harmony  would  look  well  on  any  house  similar  to  those  represented  below 


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■■■■ 

«■■■ 

■■■■ 

■■■■ 

S 


IX  these  notes  each  first  sugges¬ 
tion  describes  the  color  scheme 
actually  used  on  the  house  shown 
in  the  colored  plate.  Each  second 
suggestion  would  be  suitable  for  the 
same  house.  Either  suggestion  could 
be  adapted  to  the  houses  shown  in  the 
small  pictures  accompanying  the  re¬ 
spective  plates. 

Plate  A  .  Suggestion  No.  x. 
Lower  story,  band  below  eaves,  trim 
and  sash,  white;  shingles,  weathered; 
blinds,  medium  olive  (No.  312). 
Suggestion  No.  2.  Lower  story,  band 
below  eaves,  trim  and  sash,  ivory 
(No.  331);  shingles  on  upper  story, 
slate  green  (No.  3 1 1) ;  roof  and  blinds, 
medium  olive  (No.  312). 

Plate  B  .  Suggestion  No.  1. 
Body,  yellow  (No.  307);  trim,  white; 
roof,  weathered;  blinds,  green  (No. 
324).  Suggestion  No.  2.  Body, 
white;  blinds,  green  (No.  324) ;  roof, 
slate  green  (No.  311). 

Plate  C  .  Suggestion  No.  1. 
Body,  sash  and  trim,  including  porch 
rail  and  columns,  white;  porch  floor, 
medium  slate  (No.  302);  shingles, 
weathered;  blinds,  green  (No.  324). 
Suggestion  No.  2.  Body,  cream  (No. 
305);  trim  and  sash,  white;  porch 
floor,  pearl  gray  (No.  303) ;  shingles, 
weathered;  blinds,  green  (No.  324). 

Plate  D  .  Suggestion  No.  1. 

Body,  yellow  drab  (No.  316);  trim, 
white;  roof,  Venetian  red  (No.  322). 
Suggestion  No.  2.  Body,  white;  roof, 
brown  (No.  319). 

Plate  E  .  Decorative. 

Plate  F  .  Suggestion  No.  1. 

Stucco,  natural;  trim,  including  the 

half  timbers  and  sash,  tuscan  red  (No. 


EXPLANATION  OF  TIIE  COLORED  PLATES 


320);  shingles,  weathered;  blinds, 
bronze  green  (No.  323) ;  porch,  choco¬ 
late  brown  (No.  317);  chimneys,  red 
brick.  Suggestion  No.  2.  Body,  light 
terra  cotta  (No.  308);  shingles,  dark 
brown  (No.  319);  trim  and  half  tim¬ 
bering,  terra  cotta  (No.  309);  blinds, 
dark  brown  (No.  319);  porch  floor, 
medium  slate  (No.  302);  chimneys, 
red  brick. 

Plate  G  .  Suggestion  ATo.  1. 
Body,  trim  and  sash,  white;  roof, 
deep  green  (No.  340).  Suggestion 
No.  2.  Body,  yellow  (No.  307) ;  trim, 
white;  roof,  weathered. 

Plate  H  .  Suggestion  No.  1. 
Body,  colonial  yellow  (No.  307) ;  trim 
and  sash,  white;  roof,  weathered; 
blinds,  green  (No.  324).  Suggestion 
No.  2.  Body,  french  gray  (No.  304) ; 
trim  and  blinds,  dark  olive  (No.  313) ; 
sash,  white;  roof,  weathered. 

Plate  I  .  Suggestion  No.  1. 
Body,  tuscan  red  (No.  320);  trim, 
cream  (No.  305);  roof,  weathered. 
Suggestion  No.  2.  Body,  chocolate 
brown  (No.  317);  trim,  dark  brown 
(No.  319);  roof,  weathered. 

Plate  J  .  Suggestion  No.  1. 
Body,  neutral  drab  (No.  315);  trim, 
dark  olive  (No.  313) ;  roof,  weathered; 
porch  roof,  indian  red  (No.  321) ;  sash, 
black.  Suggestion  No.  2.  Body  and 
trim,  white;  roof,  weathered;  sash, 
tuscan  red  (No.  320). 

Plate  K  .  Suggestion  No.  1. 
Lower  story  and  trim,  ivory  (No.  331) ; 
shingles,  deep  green;  roof,  weathered; 
blinds,  green  (No.  324).  Suggestion 
No.  2.  Lower  story,  cream  (No.  303) ; 
trim  and  sash,  pearl  gray  (No.  303); 
shingles  and  blinds,  dark  brown  (No. 
319);  roof,  weathered. 


1 9 


PLATE  H 

The  above  color  harmony  would  look  well  on  any  house  similar  to  those  represented  below. 


20 


HAVING  THE  WORK  DONE 


AFTER  the  material  and  the 
y  \  color  scheme  have  been 
chosen,  the  next  thing  for 
the  property  owner  to  think  of  is 
setting  the  work  done. 

o  o 

Four  ways  are  available.  First, 
ask  several  painters 
for  estimates;  sec¬ 
ond,  hire  a  reliable  1 
painter  without  pre¬ 
liminary  bids;  third, 
purchase  the  ma¬ 
terial  and  hire  a 
painter  to  apply  it; 
fourth,  buy  the  ma¬ 
terials  and  apply  the 
paint  one’sself.  The 
last  is  advisable  only 
when  a  painter  is  not  within  reach. 

The  good  painter  is  one  of  the 
most  important  factors  of  a  satis¬ 
factory  painting  job.  He  is  worth 
all  he  costs.  An  ignorant  work¬ 
man  can  spoil  the  best  materials 
and  send  a  big  expenditure  to  pot 
by  his  blunders.  It  is  fortunate, 
therefore,  that  the  majority  of 
painters  are  competent,  trustwor¬ 
thy  men  who  know  their  materials 
and  apply  them  intelligently. 

The  trained  painter  knows  that 
no  one  paint  formula  is  suitable 
for  every  job.  Different  kinds  of 
wood  require  different  consisten¬ 
cies  of  paint  and  different  propor¬ 
tions  of  white  lead  and  linseed  oil. 
So,  too,  changes  must  be  made  for 
old  wood  and  new  wood,  sunny 
side  and  shady  side,  warm  weather 
and  cold  weather.  Driers  are  all 
right  one  place  but  fatal  another. 
Turpentine  is  a  help  one  time,  a 
paint  crime  another  time.  The 


good  painter  knows,  and  he  is  a 
good  investment,  the  same  as  pure 
white  lead  and  good  linseed  oil 
are  good  investments — because 
they  cost  less  in  the  long  run. 

Suppose,  then,  that  you  are  con¬ 
sidering  estimates 
for  painting  your 
house.  You  have 
been  careful  to  place 
each  painter  on  the 
same  footing  by 
specifying  our  pure 
white  lead  guar¬ 
anteed  by  the  Dutch 
Boy  Painter  and  a 
reliable  brand  of 
linseed  oil.  You 
find  that  there  is  a  noticeable  differ¬ 
ence  in  the  figures.  A  little  inquiry 
is  likely  to  show  you  avail'd  reason 
for  the  difference.  See  if  the  man 
whose  price  you  consider  high  isn’t 
in  the  habit  of  doing  high-grade 
work.  Examine  some  houses  he 
has  painted  for  other  customers. 
Ask  those  customers  how  the  work 
stands.  Then  apply  the  same 
measurements  to  the  low-priced 
estimate.  Get  the  same  kind  of 
information  about  the  work  of  both 
contractors  and  carefully  compare 
the  results.  Make  sure  that  the 
low  bidder  hasn’t  a  reputation  for 
unsatisfactory  work. 

All  the  while  keep  in  mind  the 
principle  that  successful  house¬ 
painting  is  vastly  more  than  a 
mere  mechanical  process.  It 
needs  intelligence,  skill  and  ex¬ 
perience.  The  wise  employment 
of  these  is  always  an  econom¬ 
ical  investment. 


PLATE  I 

The  above  color  harmony  would  look  well  on  any  house  similar  to  those  represented  below. 


■Man 


mnnm 


9»»'»:*»Zf»:«Sf!^WXSS!^K&S&&^^S!SSie^SSIlSSSSSSSS 


fjsssssffsffffsfjsmfjm 


Diciuuous  Tree 


Diciduous  Specimen 


Evergreen  Thee 

Evergreen  Specimen 


Diciduous  Planta¬ 
tion 


- - 


B&t&etsss 


□ 

•r  o • 

•V  •  G 
RE  3  • 


Flower  Parterre 
Hedge  Fence 

KEY  TO  LANDSCAPE  AND  PLANTING  PLANS 

PLANNING  THE  GROUNDS 


Ornamental  Seat 
Fountain 

Property  Line 
Sun  Dial 

Flower  Garden 
Vegetable  Garden 
Residence 


IT  should  be  no  more  expensive 
to  have  one’s  house  and 
grounds  well  thought  out  and 
beautiful  than  to  have  them  ill 
considered  and  ordinary.  The 
difference  is  chiefly  in  knowing 
how  to  plan  them. 

The  landscape 
sketches  which  ac¬ 
company  the  colored 
designs  in  this  book¬ 
let  were  prepared  by 
professional  land¬ 
scape  architects  who 
know  what  is  good. 

The  plans  in  each 
case  conform  to  the 
actual  surroundings 


of  the  house  illustra¬ 
ted,  and  they  prove 
that  the  opportunity  on  a  plot  of 
small  dimensions,  50  or  100  feet, 
is  far  greater  than  is  usually  ap¬ 
preciated. 

By  simply  extending  or  contract¬ 
ing  the  boundaries  of  any  plot  each 
of  the  plans  shown  may  be  readily 
adapted  to  plots  of  varying  sizes. 
No  attempt  has  been  madetoshow 
plans  for  elaborate  or  extensive 
grounds.  Those  who  own  estates 
will  employ  their  own  architects. 


Exposure  to  the  sun  and  pre¬ 
vailing  Avinds  govern  the  location 
of  the  main  rooms  and  piazzas  of 
the  house,  and  these  rooms  and 
piazzas  in  turn  will  probably  dic¬ 
tate  the  location  of  the  lawn  and 
garden  and  other 
special  points  of  in¬ 
terest.  The  vege¬ 
table  garden  will 
naturally  be  toward 
the  rear  of  the  plot. 

A  landscape  pic¬ 
ture  appears,  of  ne¬ 
cessity,  different 
from  each  point.  It 
cannot  be  made 
equally  beautiful 
from  all.  Select, 
therefore,  the  most 
important  view,  the  most  capable 
of  being  well  treated,  and  con¬ 
centrate  the  effort  there  so  as  to 
produce  a  beautiful  result  from 
that  point. 

The  object  of  landscape  work  is 
to  create  a  picture  that  will  be  in 
keeping  with  its  surroundings. 
Violent  contrasts  arc  to  be  avoided. 
“Ornaments  should  be  incidental. 
Foliage  is  fundamental.  Green¬ 
sward  is  the  canvas  on  which  the 


23 


PLATE  J 

The  above  color  harmony  would  look  well  on  any  house  similar  to  those  represented  below 


■■■■ 

■■■■ 

■■■■ 

1 


1 


— p 

— 

1 

L_  — — ,  «_ 

iiijnmr~rr  rv 

24 


I  7\[/v  4 


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c  A/* 


picture  is  spread.  Plants  are 
more  useful  for  the  position  they 
occupy  than  for  their  kinds. 
Walks  and  drives  are  no  part  of  a 
landscape  picture;  they  are  a  ne¬ 
cessity.” 

To  compose  the  picture  study 
the  surroundings,  arrange  the 
groups  of  trees  and  plants  to  har¬ 
monize  with  the  masses  of  foliage 
or  other  features  on  the  adjoining 
properties.  Views 
must  be  considered.  ,  |(p 
PTnsightly  objects 
should  be  screened 
out.  A  formal  flower 
garden  is  by  no  means 
a  necessity,  but  is 
often  a  very  attractive 
and  proper  feature. 

Both  shrubs  and 
flowers  must  be  so 
arranged  that  the  pe¬ 
riod  of  bloom  of  one 
set  of  flowers  will  be 
followed  by  others.  Flowers  in 
parterres  or  beds  should  be  so  se¬ 
lected  that  portions  of  them  will 
be  kept  blooming  throughout  the 
summer. 

WHAT  KINDS  OF  FLOWERS 
AND  SHRUBS 

Some  good  varieties  of  shrubs, 
trees  and  flowers  are  named  here, 
but  the  nature  of  the  grounds  and 
the  climate  must  always  be  taken 
into  account. 

For  irregular  plant  groups  va¬ 
rieties  of  golden  bell,  rose  of  Shar¬ 
on,  spiraea,  lilac,  viburnum,  hy¬ 
drangea,  deutzia,  dogwood,  kerria, 
stephenandra,  rhodotypus. 

These  may  be  supplemented 
with  evergreen  trees  of  moderate 
size,  including  pines,  spruces,  ce¬ 
dars,  hemlocks  and  junipers. 

Beautiful  evergreen  groups  for 
shady  places  are  composed  of  rho¬ 
dodendrons  (both  native  and 


s» 


GROUND  PLAN  FOR  PLATE  J 


hybrid),  mountain  laurel  and 
azaleas. 

Specimen  evergreen  trees,  Aus¬ 
trian  pines,  Scotch  pines,  Roster’s 
blue  spruce  and  boxwood. 

1  n  front  of  the  foliage  groups  and 
bordering  closely  may  be  planted 
bright-flowering  borders  of  hardy 
perennials  and  annuals.  Peren¬ 
nials  include  asters,  poppies,  dai¬ 
sies,  coreopsis,  larkspur,  foxglove, 
gaillardia,  hibiscus, 
lobelia,  peonies, 
phlox  and  scabiosa. 
Annuals  include  pan- 
•ygj  sies,  mignonette,  he¬ 
liotrope,  sweet  alys- 
sum,  verbenas,  mari¬ 
golds,  nasturtiums, 
salvias  and  gladiolas. 

For  hedges,  Cali¬ 
fornia  privet,  rosa 
rugosa,  spiraea  va¬ 
rieties  and  Japan 
barberry.  Hardy 
perennials  and  annuals  would  also 
be  used  in  the  garden. 

For  shade  trees,  hard  and  soft 
maples,  pin  oaks,  lindens,  catal- 
pas,  sweet  gum,  tulip  tree,  oriental 
palm  and  native  beech. 

For  high  screening,  rapid  grow¬ 
ing  trees,  such  as  Carolina  and 
Lombardy  poplars,  which  may  be 
planted  closely. 

The  actual  effects  will  depend 
considerably  upon  the  proper  se¬ 
lection  of  these  specimens.  It  is 
best  to  have  a  planting  plan,  show¬ 
ing  the  disposition  of  the  various 
features.  Such  a  plan  may  be 
readily  prepared  by  anyone  who 
will  make  a  little  study  of  the 
eleven  diagrams  in  this  booklet. 
If  at  first  glance  the  ground  plots 
look  more  or  less  alike  a  closer 
inspection  will  show  a  wide  variety 
in  arrangement. 

Note  first  the  key  to  landscape 


| 

ii 

H 

iWSw 

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till 

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25 


PLATE  K 

The  above  color  harmony  would  look  well  on  any  house  similar  to  those  represented  below 


26 


plans  shown  on  page  amplesof  small  houses,  and  indeed 

cottages,  designed  by  architects 

O'  o 

of  the  highest  stand- 
wh°  have  n°t 
'  ^  ^  |  thought  it  beneath 
=  ®0rc^rP  them  to  give  the  same 
$  0  conscientious  study 

J.  |  to  these  small  houses 
jSa  I  that  they  give  to  their 
F  Wj  larger  problems. 

-  "s  ^  A  small  plot  is 
;  AZfe"#  1  just  as  worthy  of 
f  thought  as  a  small 
house.  Much  can  be 
done  with  it,  not  by 
r--^  overloading  it  with 
^  ^  —  decoration  but  by 

?OR  PLATE  K  . 

placing  a  few  care- 
fully  selected  plants,  trees  and 
numerous  ex-  shrubs  in  just  the  right  place. 


and  planting 
23.  Then  carefully  plot  thegrounds 
on  a  good  sized  sheet, 
indicating  the  house, 
walks,  and  other  fea-  | 
tures  in  their  proper  jj  — -=v=:  ^ 

positions  and  in  right  k _ _ 

proportions.  Select  ^ 

from  the  list  of  shrubs  ^ 

and  flowers  the  varie- 
ties  preferred  or  that  Unu 
are  most  available,  and 

hole  hr\ 


compose  the 
picture  on  paper 
will  be  a  practical 
guide  and  will  be  a 
great  help  in  securing  ^ 

0  „  1  0  GROUND  PL, 

the  desired  effect. 

There  are  already,  in  the  vicinity 
of  many  large  cities, 


